John Grandberg
How do you follow up on a massively successful product? That was the conundrum faced by China’s Zidoo in the wake of the runaway success of its Eversolo-branded DMP-A6: a streaming DAC which many folks (myself included) felt was one of 2023’s best new devices. Darko’s video coverage can be seen here with my ‘second opinion’ thoughts written up here. Suffice it to say the Eversolo DMP-A6 remains a highly impressive component even well into 2024.
Why? Three reasons:
- First, the custom-baked Android-based operating is as smooth and intuitive as it gets. Streaming devices like this live and die on the quality of the user experience, and I have yet to encounter anything that can quite match the Eversolo device’s polished functionality.
- Second, the sound quality is impressive. Even if we disregard the vast feature set and treat it strictly as a dedicated DAC, it holds up against the competition in the sub-$1k price bracket.
- The third aspect relates to both previous parts but is such a big deal as to earn its own bullet point: the value proposition. In an industry which often feels split between budget dongle DACs and massive cost-no-object designs, the USD$899 DMP-A6 offers an intriguing mix of performance, features, and build quality for a price that genuinely seems lower than I expected given the overall experience.
Combine those three main aspects with smaller details like clean aesthetic design plus thoughtful connectivity and it’s easy to see why the device has been such a hit.
While Eversolo did launch a DMP-A6 “Master Edition”, I’d frame that as merely a slight variation on the base model. The proper step-up comes vai the Eversolo DMP-A8 which builds on the success of the original but reworks many aspects to arrive at a higher tier of performance and functionality. Pricing gets a corresponding bump: the DMP-A8 sells for USD$1980 — more than double the DMP-A6’s asking.
I still use the DMP-A6 regularly so I’ll first focus on the differences it and DMP-A8. Comparisons to other gear will come later.
Upgrades
For that extra coin, the larger DMP-A8 moves significantly upfield in multiple ways. While the DMP-A6 was primarily a DAC with integrated streaming and file playback, it did offer volume control thanks to the integrated capability of its dual ESS DAC chips. That digital attenuation method could be useful in some cases but I’d consider it something of a bonus feature, whilst the DMP-A8 has a much more robust solution in mind: a fully balanced analog preamplifier section complete with R2R volume control and a pair each of RCA and XLR inputs. That makes it a more complete no-compromise integrated solution in which users just add power amp or active speakers and control everything from the Eversolo itself, with no outboard preamplifier needed. Note that the A8 also includes a remote control in case someone prefers that over using a smartphone/tablet. This remote was sold as an add-on for the A6 but is bundled with every A8, which makes sense considering its preamplifier aspirations.
Power delivery gets an upgrade as well, with the analog sections fed by a linear supply (complete with shielded toroidal transformer) whilst the digital portions have their own separate low-noise switch-mode supply. The system remains universal thanks to Eversolo’s “Smart Switching” technology. This means the DMP-A8 will happily operate on anything from 110V to 240V power with no fiddling necessary. Aftermarket linear PSU upgrades for the DMP-A6 from the likes of LHY Audio and Teddy Pardo have become fairly popular so it’s nice to have this device well sorted straight out of the box.
On the digital front, we now get AKM’s current flagship “Velvet Sound” DAC implementation which splits the conversion process into separate chips – the AK4191EQ handling the digital legwork (filtering etc) and the AK4499EX doing the actual conversion. Of course, the specific D/A chip(s) represent just one small piece of the overall audio puzzle, and Eversolo makes numerous other upgrades to extract the best performance from its device. One such tweak is the addition of dual Accusilicone Femto clocks, which was also a headline of the DMP-A6 “Master Edition”. We also get upgraded opamps throughout and a powerful DSP chip (more on that later). Eversolo believes the end result of all these enhancements is a device which belongs in a higher sonic tier.
A physically larger case – 118mm wider and 61mm deeper, with height remaining identical to the A6 – unlocks space for additional connectivity. I’ve already mentioned the XLR and RCA analog inputs which let users take full advantage of the dedicated preamplifier section. Digital inputs increase to six, including an eARC compatible HDMI input for easy integration into a living room system with TV display. I’m also pleased that Eversolo switched the USB input from USB-C to USB-B.
Another change which might be seen as a benefit by some and a drawback by others is the swapping of the HDMI output. The DMP-A8 loses the “standard” HDMI output which was meant to interface with home theater processors, and instead offers a software-configurable I2S over HDMI output. On the plus side, I2S over HDMI is becoming fairly common among outboard D/A converters, and in many cases is the key to unlocking the best sound quality from those DACs. That said, the DMP-A6 is unique in offering multi-channel DSD output over HDMI, and that feature is lost on the new model. I suspect the user base wanting I2S connectivity is far larger so this choice generally makes sense to me, but folks wanting to play things like SACD surround rips should be aware of the change.
Beyond that, the DMP-A8 offers all the same features as the DMP-A6. That means the same 6″ touchscreen display, the same robust support for Tidal/Qobuz/Apple Music/Spotify/etc, the same M.2 slot for adding up to 4GB of solid-state internal storage and fully-certified Roon Readiness.
Listening
I took the same approach here as I did when evaluating the DMP-A6, which was to start “simple” and work my way out from there. Here, that meant an Ethernet connection to my local network, streaming from my custom Roon server, and letting the A8 handle all processing. Signals were routed via XLR output to a Niimbus Audio US4+ headphone amplifier (US$5700 but discontinued) which then fed the Meze Audio Elite headphones (US$3999) using a balanced Audio Art cable.
The result was a complex, inviting presentation which sounded pleasingly refined when handling the gruffly authentic vocals of Dustin Kensrue on his 2024 solo release Desert Dreaming. I then went back in time to his work as lead singer of the band Thrice, with albums like 2005’s Vheissu reminding me that screaming into a mic for decades can take its toll. Still, those vocals are just so relatable and engaging, standing in contrast to the plethora of overly processed, slick radio voices we all hear so often (whether we want to or not). The Eversolo served up both the aggressive earlier work as well as the mellower solo project convincingly.
I then switched to Inculter, a relatively obscure Norwegian purveyor of exceptional thrash metal whose 2019 release Fatal Visions is among my favorite albums of all time. Their sound will likely appeal to anyone who enjoyed Metallica’s first three records but found they took a wrong turn in 1988 with …And Justice For All and never recovered. And for folks (like me) who love metal of all sorts despite the often “challenging” sound quality involved, Fatal Visions has impeccable mastering including a DR12(!!!) average – the Eversolo really got a chance to shine in terms of dynamic punch and conveyance of percussion energy. In particular, it highlighted the classic 80’s tuning of the drum kit which sounded more and more like real life (as opposed to recorded music) the longer I listened. Anyone who has ever put up with bland “audiophile” music that they don’t actually like, just because it makes their system sound amazing, owes it to themselves to try this release at high volume levels.
Lastly, I moved away from all the heaviness and cued up some relaxing and somewhat cerebral electro in the form of Jedha’s Midwinter. At only 33 minutes long, I usually play this through at least twice, and the Eversolo left me wanting more even after a third round. I was struck by the amount of spaciousness and layering involved, not to mention the rich extension on both ends. Detail retrieval was extremely impressive as I listened deeper into the mix. Switching to a headphone like the Audeze LCD-5 uncovered still more buried treasure via greater clarity but the Meze Elite remained my preferred transducer when paired with the DMP-A8 (and Niimbus amplifier) thanks to its gorgeously balanced presentation.
With all of the above musical examples, I took time to switch from the A8 back to the A6, just to see how that impacted the results. In each case, I was struck by the shift in tonal balance. In isolation I find the A6 fairly even-handed but a direct comparison proved it to be thinner, brighter, and generally more spindly than its larger sibling [Agreed! – Ed]. The A8 hit with more authority on the low end to give a more pleasing sense of projection in the midrange. While I certainly recognize some of the same Eversolo DNA in the sound signature, I’d call the A8 a more fully realized version of that same idea. Stood alone, the A6 still sounds pleasing. However, side-by-side comparisons to the A8 expose differences that entirely favor the larger, costlier unit.
I swapped out the uber-transparent Niimbus amplifier for the potent-sounding Cen.Grand 9i-806 (US$2399) and later substituted that for the tube-based Cayin HA-6A headphone amplifier (US$2499). I also rotated through various headphones including the ZMF Caldera (US$3499), ZMF Atrium Closed (US$2499), Focal Elex (US$749), Meze Liric 2 (US$2000), AKG K812 (US$1800), and Raal Requisite CA-1a (USD$2500). This collection encompassed both tube and solid-state amplification as well as examples of planar magnetic, dynamic, and ribbon driver technology. In short, I gave the Eversolo a little bit of everything to see what patterns might emerge.
In the end, the DMP-A8 did what a high-quality, well-rounded digital source should do – reproduce music with an even hand. When paired with generally neutral components, it displayed little editorialization, instead focusing on extracting plentiful detail with convincing speed and authority. When paired with gear on the warmer, richer side of the spectrum, the A8 helped maintain control, keeping things from wandering too far into euphonic lushness at the expense of realism. And when matched with a brighter system, the A8 contributed with treble sweetness/softness to avoid any emphasis on grain or sharpness. Contrast all that with the DMP-A6 which seemed to inject a bit of its own character whenever it was in the chain, and not usually for the better. The A6 is at its strongest when paired with smoother, mellower gear, whilst the A8 proved more universally appealing and ultimately felt like it belonged in a higher tier. Again, the A6 continues to deliver satisfying sound, but when compared directly to its larger sibling, I do think most people would prefer the slightly more full-bodied, fleshed-out presentation of the A8.
Beyond the Basics
I then tried the A8 in some more complex configurations, including used as a transport with several high-end external DACs, and used as a DAC with various dedicated streamers. I won’t go into excruciating detail but I do have a few things I’d like to point out.
In terms of dedicated DAC quality, the DMP-A8 held its own against some tough competition. The Cayin CS-100DAC (US$3399) and its selectable tube output stage gave thicker tonality and even larger staging but traded off a bit of speed and transient snap. In many cases, this felt like a worthy exchange – most jazz and classic rock, for example, benefited from the additional density and note thickness. But when playing electronic music from the likes of Vapourspace, Karl Bartos, Lamb, Infected Mushroom, Tim Hecker, or Rival Consoles, I found myself preferring the Eversolo’s quicker, more focused presentation.
Moving to several other DACs in the $3k-5k range from the likes of Musician Audio and Wyred4Sound, a similar pattern emerged: while they did do some things better, and in some cases significantly so, none of them sounded like an improved version of the DMP-A8. In some situations, the Eversolo ended up as the most enjoyable device. Obviously, we can adjust for taste by swapping ancillary gear but my point is that the DMP-A8 isn’t embarrassed by costlier company.
The A8’s integrated streaming functionality is optimal as-is. External devices brought no sonic benefit. I tried a Matrix Element S (US$1499) and a Euphony Summus (around US$3500 with Keces P8 linear power supply) – two of my favorites regardless of price – and neither offered a significant improvement on the A8’s integrated streaming. I had moments of “well that’s slightly different” but never anything consistent or clearly better to the point where it justified the external box’s added cost and complexity. Its array of digital inputs makes the A8 more versatile – I could see adding a disc-based transport, or an Apple TV, or even making use of an all-in-one PC with a huge touchscreen display at some point down the road, if only to make daily use more interesting. No matter which direction I go, the A8 has enough inputs to accommodate all manner of use cases, but it doesn’t need anything to improve its streaming audio performance.
As a headphone user, I don’t typically have a lot of use for stand-alone preamplifiers in my system. That said, I remain appreciative of high-quality volume controls in source devices. Since modern headphones have become increasingly difficult to drive, designers have responded by making headphone amplifiers increasingly more potent in both power and volume levels. That’s great when driving something like the stubborn HiFiMAN Susvara, but it can be obnoxious when powering a more sensitive design (and trying to dial in the correct levels).
For example, I’ll bring up Cayin again with its superb HA-6A and HA-300 tube amplifiers. Both feature discrete 24-step relay-based volume attenuators which I’ve criticized for having too few steps and, with certain music/headphones, too much gain at the lowest setting. It’s my singular complaint with both devices. With its dedicated preamplifier, the DMP-A8 allows me to properly dial in my desired levels without the audible loss that I tend to hear from more simplistic volume controls – such as that found on the DMP-A6! Obviously, the folks driving a speaker-based system, and maybe using the analog inputs to run a turntable, will get more mileage out of the preamplifier than I do. But even in my limited use, I’d call it a capable design.
Tweaking etc.
Let’s talk DSP for a moment. The DMP-A8 has some powerful onboard processing that allows it to do tricks like graphic or parametric EQ, high and low pass filtering, FIR filter, and even per-speaker delay to compensate for asymmetrical placement. It’s a comprehensive package that can help bring out the best in a system…if we take the time to dial it in. Or, if things like EQ offend your delicate audiophile sensibilities, you are completely free to bypass this feature… but I’d still recommend playing around a bit, if only to see what can be accomplished. Implementation matters, and you might be surprised at how much positive audible impact can be had from a few subtle changes.
Now, it’s worth noting that some months back, Eversolo added the base-level EQ functionality to the DMP-A6 via a firmware update. It’s not something you’ll see mentioned in reviews as many were published long before its addition. At face value, we might think it brings parity between the units. But no! The DMP-A8 has a dedicated 32-bit DSP chip which handles these adjustments in the hardware domain. Meanwhile, the DMP-A6 accomplishes its DSP adjustments in software. This not only makes for higher quality processing in favor of the A8, it also unlocks more adjustment options and even more utility – the A8 can apply these settings to every source except for the analog inputs, whilst the A6 adjustments can only be applied to music played via the internal streamer. Want to spin discs from a CD transport, or connect to a TV via HDMI ARC, and have your DSP adjustments work with those devices? Only the A8 can do that.
In our publisher’s video review of the A8, Darko listed his top three features as the DSP, the analog inputs and the Plexamp possibilities. Those are great, but I would choose a more obscure feature. One that I’ve put to good use. That’d be the fact that Eversolo allows all digital inputs, as well as the internal streamer, to be routed through the I2S output. This effectively turns the DMP-A8 into a top notch digital-to-digital converter aka DDC, spitting out femto-clocked signals via (what tends to be) the audio nerd’s preferred connection type for many suitably equipped external DACs. So while I do appreciate the integrated nature of the DMP-A8 as a streamer/DAC/preamplifier, I also love having upgrade paths which keep gear from becoming irrelevant as a system grows. And if we want to go nuts, we might combine this DDC functionality with the DSP-based sound adjustments, which also apply to digital outputs when using the A8 as a transport for an external DAC. The possibilities are vast.
Throwing cold water on that I2S output is the absence of industry standards — it often comes down to trial and error in terms of testing which DAC works with which transport – despite both devices having HDMI-shaped I2S ports. But when you do find a working match, it is almost always worth the trouble. Eversolo gives us some adjustability from the A8’s two software-selectable pinout configurations but I would love to see them expand that for improved compatibility with more external DACs.
Final thoughts
Eversolo took the audio world by storm when it launched the DMP-A6 last year. In my review of that device, I speculated that we might see additional versions beyond the base model and the Master Edition – perhaps a dedicated transport focused on digital outputs, or another version with an onboard headphone amplifier, etc. There’s still plenty of time for that prediction to come true but with the A8, Eversolo has taken its DMP platform to the next level. And then some.
As far as I’m concerned, the A8 is another winner: the slick UI, generous feature set, broad/er connectivity, high/er-quality preamplifier, superior power supply, more advanced D/A conversion, and powerful onboard DSP all come in at a price point that feels – dare I say it – “reasonable” by modern hi-fi standards. Most people won’t use every last feature loaded into the unit, but if you find yourself interested in at least a few of ’em, the DMP-A8 has very little competition.
Further information: Eversolo
